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Brian Eno: This is such a profound change in the way
people think about music.

For a start, it relates to a lot of new
ideas about how things organize themselves, and it moves our thinking away from
what I call the 'symphonic metaphor' to wards the 'generative metaphor.

The
difference between those two metaphors is quite profound.

Mark Edwards: Switching away from generative music for a
second - I think a lot of people will have read in Q that your next album has
been cancelled or postponed. What's happening?

Brian Eno: What's happened is that I have become nauseated
by the stacks of CDs accumulating in the dusty corners of my studio.

I
always wanted to be part of a conversation that people were paying attention to,
and my feeling is that music has slightly died, stifled by over saturation.

So for me it's a little dull to make records at the moment...though I
might change that thought.

Mark Edwards: If music has slightly died, what music are
you listening to at the moment - if any?

Brian Eno: I'm listening to vinyl a lot - mostly because
you get less music on a record - it just doesn't last so long.

I hate
the way CDs just drone on for bloody hours and you stop caring.

Graham Harrison asks: What do you feel is different in your
compositional method, compared to other composers
who use and have used chance in composition, e.g. Stockhausen, Boulez, Cage?

Brian Eno: The difference is that I reject the results of
chance if they don't excite me sensually - whereas the composers you mentioned
were rather more doctrinaire about it.

Their feeling was that they
'believed' in chance as though it had a sort of mystical dimension.

I
don't. I think chance is what you use when you can't think of a better basis on
which to make a decision, or when you want to take yourself into territory that
you haven't been before.

Mark Edwards: So what do you believe in?

Brian Eno: I don't believe in much. In fact I was thinking
of doing a version of that Chris Andrews song, but mine would be 'I'm not a
believer'.

Mark Baartse asks: With the never ending popularity of
Black Dog, Smoke on the Water and other songs that have been played far more
often than we all would like, do people really want music that changes? It seems
people in general prefer things that stay the same.

Brian Eno: People want a lot of different things. One of
them is music that sounds identical from play to play, another, I've discovered,
is music that never repeats. I'm not suggesting that generative music will
replace anything - but add to it.

Kaon Koo asks: Do you have any plans in the near
future for more generative albums? And what other future
applications for this type of music do you envision?

Brian Eno: The best future applications probably have to
do with relieving the unutterable tedium of CD-ROMs.

There is an
example of a medium totally without a message.

But what is really
interesting is the future in generative - generative graphics, generative
narratives, generative architecture, there is a place for forms of culture also
that are evolutionary, which somehow pay attention to your interests and modify
themselves accordingly.

I can see this happening with generative work - it needs to be able to
complete a feedback loop with its users.

Brian Eno: The idea of generative architecture is to
suggest a way of building which first of all responds to its users.

And
which accents that the architects job is to set in place a grammar of
possibilities which the users then articulate into meaningful structures.

This
will be a bit of a blow for most architects, who currently are completely stuck
in the 'symphonic metaphor'.

Mark Edwards: So you mean easily customisable houses.

Brian Eno: I mean a way of thinking about building that
accepts that what is there when the architect leaves the site is the beginning,
not the end, of the process.

For example, most buildings change their
'services' - bathrooms, kitchens etc. - very often - like every ten years.

Yet architects continue to design and build as though this is never
going to happen.

And make it bloody difficult for it to actually be
done.

My feeling is that building a house should involve setting in
place all the things that would make it easy to change it, adapt it.

Mark Edwards: Most people who create, well, anything want
to believe that the creation is in some way perfect.

You're quite
unusual as an artist who's happy to see his work manipulated after its left you
(the album with Jah Wobble springs to mind, just as an aside.

Brian Eno: I don't accept this. I want to believe that
what I make is a good start, a strong place to begin. I
then hope that at least it will be better in the user's (listener's) mind than
it is in mine. I want to plant seeds that will grow when they leave me.

If
I thought the music was only going to remain as I left it, then why would I want
to release it? You released things so that they will grow.

And have
interesting other lives without you. Just like kids...

Mark Edwards: We've got a question here asking you to
finish the Turner speech. That's a huge answer. If people
want the full answer, you've written an essay in the Waterstone's
magazine, I think. Maybe you could give the three sentence summary. (question
was from Mark Harrop by the way)

Brian Eno: 1) if you as a scientist what he's doing, he'd
probably be able to answer that it has something to do with learning about the
world, how things work.

2) If you ask an artist the same question,
you would get a thousand muddled answers.

My feeling is that the
conversation about art is about in the same place as that about biology was
before Darwin: we have lots of observations but no single frame in which to
locate them all and make sense of them.

3) I think it is possible to
discuss all culture in one language (in the same way that evolution theory
allows you to discuss all living things in one language). I look for a theory
that will unify cake decoration, Cezanne, and Little Richard.

Mark Edwards: Maybe part of being an artist is not knowing
why you're doing it. Like a child playing - it's important, but they couldn't
verbalise why. (except maybe' it's fun', which would be a good answer for an
artist to make, although funding to the arts might get cut).

Brian Eno: I think this is a load of old bo***cks,
actually of course it should be fun, but why shouldn't you ask why you're doing
it?

It doesn't matter if you can't come up with an answer, but not to
even ask the question strikes me as rather bizarre.

Mark Edwards: We've got another question that would take
several books to answer. After this maybe someone there has some simpler ones.

David Addison asks: On p61 of diary you ask "what
will we leave behind that future generations will be this impressed by? What
about space exploration as a cultural activity?

Mark Edwards: <Brian collapses onto the table>.

Brian Eno: I said in the diary that surely our most
notable activity in this era is defence spending.

Have
you any idea how much of our money and talent is bound up in that? (And the
Internet is just one of its little spin-offs)

So, like it or not, all
those wonderful Damien Hirst cows will fade away to nothing and the people of
the future will be admiring our wonderful surface to sir missile systems.

Mark Edwards: Back to the Turner speech - do you know any
individual artists who have a decent answer to the question why they're doing it
(that was "surface to air" in Brian's last comment, by he way, not a
system to attack school teachers)

Brian Eno: I don't know many artists who even want to have
this conversation.

There's a feeling that we might turn over a few
stones that we wish we hadn't.

Mark Edwards: That as what my question that you referred
to as bo***cks was all about, maybe the artists motives aren't as wonderful as
those of the scientist - maybe they're more selfish.

Brian Eno: On of the problems is that any theory that
unifies all of culture - from haircuts to Hokusai - is in danger of reducing the
'dignity' of the fine artist..

Just as Darwin reduced the dignity and
separateness of humans from all other creatures.

And of course this
has dire economic questions.

After the Turner speech (which was after
all to a room full of dealers and curators who depend on that dignity) I got a
few rather cold looks.

Tony Walsh asks: The GM I've heard so far has been
instrumental. How do you see lyrics, or the human voice in general, fitting into
this chance methodology? Is it a thing of the past?

Brian Eno: To answer what you said, everyone's selfish but
some people's selfishness pays off for other people.

I love the idea
of songs and voices. I despise most songwriting as lazy and pathetic. There are
so many other things we could be doing with voices.

Thank God for rap
artists. At least they annoyed everyone.

I didn't really answer the question...can I come back to that?

Mark Edwards: Andrew Sigal wants to know if putting
generative music on CD defeats the purpose.

Brian Eno: I can't see any reason for not putting it on CD
if you happened to want to hear a particular 'performance' of a piece over and
over. I have recorded several of these pieces and enjoy listening to them
off tape but the thrill is not knowing what is going to happen, so I go back to
the clunky, under-developed piece of junk that is called 'my computer'.

Peter Gunn asks: Should we not SACK the architects if they
aren't working ?

Brian Eno: Yes, what's more, I think there should be much
more public attention paid to architects who build ugly and stupid things.

Just as their should be more credit to those who build well.

Mark Edwards: Let's talk about your diaries (recently
published). On the back cover is a list of words or phrases describing yourself.
One of them is 'a drifting clarifier'. what is that?

Brian Eno: That was Steart Brand's description... he meant
to describe me as someone who generally helps out in thinking situations, but is
not stuck to one in particular.

It's flattering but I hope it's true.

Mark Edwards: Are you spending more of your time doing
that - being in thinking situations of one kind or another - rather than doing
the work you're better known for (e.g. being a musician or a record producer).

Brian Eno: I spend a lot of time talking, lecturing etc. I
like it - sort of cuts out the middle man.

Alex McCourty asks: You seem to be deeply involved in
change and directions for the future, but what's your view on history?

Brian Eno: History......it's out of date

[pause in proceedings]

In broadcasting this is called dead air - people live in total fear of
it - executives get fired for it - sent back into the gutter.

Mark Edwards: Tell me - are you happier
collaborating or working on your own?

Brian Eno: I'm happier working with other people. I get
further working on my own.

Benjamin Cohen asks: You said earlier you were listening
to music on vinyl, but you didn't say what exactly. I'm curious to know how you
perceive the current dance music scene, particularly techno and drum and bass.
Have these genres influenced you at all?

Brian Eno: By that I mean I sometimes touch something that
I wouldn't in company.

Because it might fail too dramatically.

Dance
music....oh god...I think I used to be able to dance once. I can't remember.

Mark Edwards: It's true. I've seen you do it.

Brian Eno: Indeed, with the princess of somewhere wasn't
it?

Mark Edwards: What were you thinking about up there on
stage with Pavarotti, and were you miming or really playing the omnichord.

Brian Eno: I was in a strange bliss... are you miming?

Mark Edwards: Yes. I'm miming. Jimmy Page plays all my
parts.

Brian Eno: Doesn't play them very well.

A question from Loony Laura: Do you see silicon
evolution superseding carbon evolution? Is generative music the first step in
handing over the keys to the generative motor?

Brian Eno: I see co-evolution, but I think silicon is just
a phase. We might not be working with electricity even in fifty years time.

Think of what happened to steam - 100 years ago it must have seemed
absolutely irreplaceable.

But yes, we are and have always been beings
who add things to ourselves.

It used to be sensory things we added -
extensions of our strength and senses.

But now we've learnt to build
our intelligence and incidentally, our abilities to co-operate and deceive (the
same ability, actually).

Mark Edwards: How does this experience compare to being
interviewed for a magazine or on the radio?

Brian Eno: I think he's certain to - the people who've
been working towards this include some of his favourites (Leon Krier, Chris
Alexander) but there are also several he might not like so much. I'm not
down on PC for his stand on architecture. I think he's perhaps a little
simplistic, but someone had to say it.

Jason Gibbs asks: Does your inspiration mainly come from
music or the visual arts?

Brian Eno: >From the visual arts, actually. I always
wanted to make things that felt more like paintings than music.

Mark Edwards: What are you working
on at the moment? What Eno products will we see soon?

Brian Eno: This is the question I dread when I meet people
at dinner parties. I can never remember a thing I'm doing unless I was doing it
today. What was I doing today? I went to talk to Michael Morris of Artangel
about the possibility of doing a show that works by hi-jacking other existing
shows - visual shows, I mean.

Mark Edwards: If your inspiration mainly comes from the
visual arts, what have you seen recently that you really liked?

Brian Eno: I've seen an amazing photographic book today by
Richard Billingham - just pictures of his family who live on a council estate.
It's the best photobook I've seen in years. His family is an alky dad and a
tattooed mother.

Mark Edwards: A show that hi-jacks other shows. What? You
go to one show, but something else is actually happening there?

Brian Eno: It's called `Ron's a laugh' I think (Ron is his
dad). Hi-jacking... imagine, for example, just replacing all the labels beside
existing paintings so that you change the reading of them completely - (most
people spend longer on the label than on the painting, by the way) - similarly,
parasitize TV shows etc. etc.

Mark Edwards: The world is divided between those who read
the labels first to find out what it is they're supposed to be seeing in it and
those who look at them afterwards.

Will Lawless asks: Where in the past would you wish to go
to experience art at its best.

Brian Eno: I wouldn't mind being in Russia between 1906
and 1917.

Polina Barshteyn asks: Is not the reason,
the ultimate reason for doing anything, to find out, in vain it might seem, what
we are doing here, here in existence, why life?

Brian Eno: I don't know if I'd say we are looking for
purpose in the sense you imply.

But what I do think is that we are
inveterately fascinated by our subjective experiences, and it's those that also
yield the scientific and technical results we depend on. What I mean is: our
tendency to attempt unanswerable questions is the same tendency that makes us
invent things.

Mark Edwards: Jim Dodd wants to know if you have a
scientific education?

Brian Eno: I don't have a scientific education formally,
but for years (since my teens) I've been fascinated by the conversation that's
been going on in the sciences - particularly the life sciences and the commuter
sciences.

That conversation has put the arts to shame, in my opinion
and we really ought to try a bit harder to get something like the same kind of
openness and clarity.

Why? because to include more people is to
include more intelligence and that's what art needs.

Mark Edwards: We're wrapping up now. We've got one last
question, a suitably calm and chilled one to end on.

Jenny Minjung Kay asks: Describe your ideal
environment for being relaxed and having a clear
mind... are you at your most creative in this kind of atmosphere?

Brian Eno: I have a nice studio. I sometimes get here
early (3 or 4) and work in silence for several hours. That is very nice,
especially in early winter.

Mark Edwards: There's a competition question. You can win
a copy of Koan Pro and a signed copy of Generative Music. You need to send you
e-mails to 76004,3476. The draw will be picked at the end of the month <July
1996>.

And that question is .... where does the title 'Supporting Circle' come
from?